The Rough Guide to the Rough Guide of the Principality of Nomadonia

The Rough Guide to the Rough Guide to The Principality of Nomadonia Spring, 2014 Edition Written and researched by Harry Thomas Day

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Harry Thomas Day 000741521-4 University of Greenwich Unit 16

ABOUT THIS GUIDE In a world of austerity we can no longer sustain our cities as we emerge into an unprecedented territory beyond that set out in tradition. A job and house for Principality of Nomadonia seeks to address these issues.

This thesis is divided into two sections. The first is a critical analysis of guidebooks that seeks to inform the second section; The Rough Guide to The Principality of Nomadonia. This avant-garde city typology has an attribute that guidebooks have not yet had to describe; transience.

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life are now myths, nothing is certain anymore. The

CONTENTS Abstract Methodology statement 01

BOOK 1

1.0 - Anatomy of the guide 1.0.1 - History 1.1 - Guide as a tool. What is its purpose?

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1.1.1 - Value as a

02

BOOK 2

recording device 1.1.2 - Information

Principality of Nomadonia:

updates

Guide - Spring 2014 edition

1.3 - Chronology. In what order does it guide?

1.4 - Guide typology. The role of the guide

03

BOOK 1

1.5 - Author’s agenda 1.5.1 - Target Audience

3.0 - Conclusion

1.6 - Content. What to see and do

Bibliography

1.6.1 - Map, image and

List of figures

media

Apendicies

1.6.2 - Language 1.6.3 - Translation 1.7 - Structure 1.8 - Destination or journey?

1.9 - Subjectivity and choice

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‘We are as gods and might as well get used to it. So far, remotely done power and glory—as via government, big business, formal education, church—has succeeded to the point where gross obscure actual gains. In response to this dilemma and to these gains a realm of intimate, personal power is developing—power of the individual to conduct his own education, find his own inspiration, shape his own environment, and share his adventure with whoever is interested.’1

which have connected them with another, and to assume among the powers of the earth, the separate and equal station to which the Laws of Nature and of Nature’s God entitle them, a decent respect to the opinions of mankind requires that they should declare the causes which impel them to the separation.’2 ‘Everything is changing - you, your family, your neighbourhood, your education, your job, you government, your relation to ‘the others’. And they’re changing dramatically.’3

1 2 3

Stewart Brand. Whole Earth Catalog. p.2 ‘Declaration of Independence’ Marshall McLuhan and Quentin Fiore. Medium is the Massage. p.8 -3-

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‘When in the course of human events, it becomes necessary for one people to dissolve the political bands

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METHODOLOGY STATEMENT

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Notes

Notes

ABSTRACT AND CONTENTS

METHODOLOGY STATEMENT

2.

TOUR GUIDE Referencing the content analysis from the previous study to develop a bespoke content for the guide to Nomadonia

Thesis

ANATOMY OF GUIDES Analyses the selected case studies and becomes the guide to the content of section 2.

Notes

MANIFESTO Outlining the key principles and ethos of Nomadonia with reference to a current context

The content of the guide is governed by the analysis of guides in section 1.

The main body of text will be more narrative based while the footnotes will make reference to guide book analysis explaining reasons for specific reasons for inclusion.

MAP[S] Highlighting the key areas of the nation / city that can then be crossed referenced within the main body of text. All should take reference from the guide analysis

POSTCARD VISITING CHARACHTER Notation will be applied to the guide section, envisaging that a character has used the guide to visit Nomadonia

CONCLUSIONS Reflecting on thesis as a whole to project forwards

Fig.01. Methodlogy diagram - Thesis structure

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1.

In parallel with my thesis design project, titled the Principality of Nomadonia, this text intends to describe some of the components of the city whilst explore the way in which this is communicated through an analytical study of the guide. This nation, as described in its manifesto [section 2 of this thesis], is attributed with movement. It is understood that no guide has been published that describes a nation of transience, and the initial study will seek to take aspects of existing literature in the form of case studies, and address their applicability to a transient state. The guidebook has been chosen due to its inherent architectural qualities,1 but more specifically its descriptions of place and the components that differentiate it from any other. The primary focus of this thesis is the critical investigation of case studies into the methods in which they use to guide. In reference to a personal agenda, this thesis endeavours to develop a position on the potential appropriateness of guides in the future whilst also help focus the associated design project.

With regards to the idea of a moving city, it is important to understand that its core principles are not

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necessarily concepts without precedent. Well known architects such as Archigram have underlying notions of nomadics throughout their works. Architectural writer Samantha Hardingham states that ‘time, mobility, expendability and planned absolscence in architecture’2 were pertinent themes of Archigram.

METHODOLOGIES The primary method used for this thesis is the analysis of the content of the selected case studies [guides] to develop a framework that can then be applied to an unprecedented scenario. The criteria in which each case study will be surveyed is shown in Fig.04. However it is understood that some of these criteria will not be applicable to certain case studies. Analysing the content of these guides in conjunction with appropriate histories and theories as well as comparing and contrasting them to other guides will provide a diverse foundation for argument. Triangulation will provide a multiplicity to the process of enquiry. Applying theoretical concepts of guides such as Barthes Blue Guides essay, supplementary sources like Clip, Stamp, Fold and Medium is the Massage will provide additional depth to the argument.

1

Nicholas T. Parsons. Worth the Detour: A History of the Guidebook. p.xviii

2

David Greene & Samantha Hardingham [eds.]. L.A.W.U.N Project #19. p.B14 -6-

1. GUIDE STUDY The first part of the thesis will analyse a select array of guides based on the criteria referred to in Fig.03.

Fig.04 refers to the selection criteria of the case studies and has been implemented to ensure that a diverse variety of guidebook is explored. For the purpose of this study it is important to pay particular reference to less orthodox guides and those that describe the undesirable as these contribute significantly the originality and innovation of the research paper. Also they all have reference to an alternative scenario, which in this case is a transient city. The analysis of the guide will allow me to define a clear framework to which I will be able to construct the guide for the Principality of Nomadonia from. Having an understanding of the historical background of guides will also provide a basis to which further speculations can be applied, in a critical context.

Only a selection of the analysis based on the criteria shown in Figs. 03 & 04 will be part of the thesis as to highlight and frame the most appropriate arguments, contradictions and ideas. During the analysis it description of transient nation. Sample pages will be included in the investigation to highlight pertinent features applicable a line of justification.

There are many examples of existing guides and because of this it is important to contain the arguments within the parameters of the case studies. This will maintain a concise investigation and allow specificity as opposed to generalisations. However, if time allows, additional case studies and research beyond that of the original outline can be included where appropriate. In addition it must be noted that this does not intend to be an exhaustive study of guides.

2. GUIDE BOOK - PRINCIPALITY OF NOMADONIA The content of the guide will interpret and act as a conclusion to the findings of the critical study.

Elements such as graphic design, use of media, structure and vocabulary will all be carefully selected to create a guide that is appropriate for its context. The scope of this guide will be dictated by the research outcomes of the initial study but will be restricted by the capacity of this thesis. Therefore the guide will be an ‘addendum’, ‘edition’ or ‘supplement’ to frame the content pertinent to the original aim as to be in accordance with time constraints.

The first section of the guide will be a manifesto, so to provide the reader with a condensed introduction of -7-

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is important to maintain a critical distance when judging the appropriateness of guide attributes to the

the place the guide is attempting to describe. The justification of the city is only the secondary focus of the study as the guide acts as a conclusion to the initial investigation. However content should still be relevant with the purpose of trying to construct an idea of place.

To further the guide as a tool, additional notes will be superimposed as if a character has used to guide to visit its intended place. The content of these notes should refer to previous analysis and further add to the picture of Nomadonia.

FORM The form of the thesis will be delivered in two parts [refer Fig.01] that have been chosen to best represent the relative subject area. Referencing to the notion of the ‘traveller’ a guide book has been chosen to

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represent the main thesis content. To supplement, maps and other related imagery will depict the key components of the nation that are described in the main body of the text.

1.

Critical analysis of guides

2.

The Guide to the Principality of Nomadonia.

3.

Visitors comments noted with the guide

4.

Postcard, map inserts, portfolio drawings

For the final exhibition the thesis may be further edited to include the most recent outcomes of the design work and become an insert to an older guidebook such as Baedeker’s Great Britain to act as an extension of information.

LITERATURE REVIEW AND MEDIA SURVEY Prior to the main research exercise a literature review and media survey will be undertaken to establish where this thesis sits in relation to existing investigative research. Referring to resources such as the Architectural Periodicals and Avery Index’s has indicated that there is no current works on guide books for transient nations. Currently there are books that investigate conventional guides and their historical contexts such as Worth the Detour: A History of the Guidebook. Writings such as Barthes Blue Guides will also be included in the study as reference. This thesis hopes to expand and ask further questions of the current literature.

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The scope of the research and more specifically, the case studies is indefinite as there are many examples of guides. This thesis intends to draw upon a cross section of the available guides and associated guidebook literature in a critical framework and re apply the findings to an unprecedented scenario.

STRENGTHS AND WEAKNESSES The thesis uses a diverse range of case studies, however it may lack focus on contemporary digital guides.

These may be referred to in appendices and conclusions.

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CASE STUDIES Each of the selected case studies have been displayed in the table below to highlight their key ‘guide’ qualities and attributes. Each of these have been selected and analysed by the criteria as shown in Figs.

03 & 04. Of the selected case studies there is an inherent diversity that I will be able draw aspects from in order to develop my own guide for the transient nation.

Description [original publish date]

Key attributes affiliated with the notion of a ‘guide’

Flatland: A Romance of Many Dimensions, Edwin. A. Abbott [1884]

Novel, Satire

-methods of recognition of different social classes -spatial rules of moving from place to place -describing a new place with the language of Flatland -narrative as described as pseudonomously as a square - charachter -guide through space

Utopia, St. Thomas More [1516]

Novel, reflective, discursive, travelogue

-divided into two books - dialogue between the people that More meets and a description of Utopia -narrated through charachter Raphael Hythlodaeus’ account of visting Utopia -used to critique the zeitgeist -description of the ‘best’ place

3.

Reyner Banham Loves Los Angeles, Reyner Banham [1972]

Tour/travel guide

-perspective of guide - car -vocal navigation system -critique of convention guide books

4.

The Ten Books on Architecture, Vitruvius [around 15BC]

Instructive, manual, treatise

-step by step manual for carrying out regimented tasks -authorative in language and structure

5.

Whole Earth Catalog, Stewart Brand [Fall 1968]

Tool, Catologue, Manual

-’access to tools’ -encyclopedic framework

1.

2.

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Genre

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-Hunting of the Snark map -search and discovery

Rough Guide to Berlin, [2008]

Travel Guide, updated, tool

-aimed at those wishing to visit/travel -useful information to help you while you are there -traditional guide

Book of Dave, Will Self [2006]

Fiction / Novel

-alternates between two versions of London narrative of derranged taxi driver Dave Rudman and a distorted vision of the future -refers to ‘knowledge’ - local understanding of place - taxi drivers -glossary - alternative language -finds second book that contradicts content of the first

Divine Comedy, Dante [13081321]

Personal Guide, Dialogue, Poetry, Religious/ political allegory

-guided through the stages of Hell by Virgil -negative/unorthodox place -Dante uses himself in the writtings

Travel guide,

10.

The Blue Guides: Muirhead’s London and its Environs, Muirhead Findlay [1918]

-reference to traditional guide -bourgeoisie target audience -portable

Travel guide

11.

Baedeker’s Great Britain, Baedeker, Karl James. F. Muirhead. [1890]

-reference to traditional guide -cartographic representations -portable

7.

8.

9.

Fig.02. Taxonomy of key guide case studies -11-

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Narrative, poem

6.

Hunting of the Snark, Lewis Carroll [1876]

Example page or spread that highlights key attributes of the guide in question. References will be made within the main body of text for clarity.

HEADINGS SUBHEADINGS

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CONTENT

TYPOGRAPHY STRUCTURE IMAGERY 1.

2.

3.

Notes

ADDITIONAL FEATURES

SAMPLE PAGE SCAN Fig.03. Methodology diagram - Case study sample page analysis

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Notes

FORM/AESTHETICS

FOCUS OF CONTENT Place, unorthodox, desireable, neutral, city

Selection Criteria

GENRE Narrative, fiction, non-fiction, catalogue, satire, allegory

Notes

PERIOD / DATE Date, age, cultural contexts

Overall the agenda is to select a diverse range of guides that are capable of illlustrating attributes that can be compared and contrasted with others

Notes

CONTENT - BOOK 01 - GUIDE ANALYSIS -

TARGET AUDIENCE Natives, students, academics, all, bourgeoisie, outsiders

FORM/AESTHETICS Size, graphic design, format, layout, typography IMAGERY Use of diagrams, maps, illustrations, photos

Notes

STRUCTURE Headings, chapters, sections, information density DATE / TIME FRAME Seasonal, addendum, biannual, ininity

Not all criteria will be relevant to each guide and in some cases the inclusion of a guide will be used to highlight a particular attribute.

LANGUAGE Vocabulary, translations, tense

Analysis Criteria

VALUE Cost, disposable, personaliseable, usefulness

Fig.04. Methodlogy diagram - Guide selection and analysis criteria

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1.0 - ANATOMY OF THE GUIDE

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Traditionally architectural and historical1, the guide book attempts to communicate the physical and cultural aspects of a place. This section seeks to perform as a critical analysis of selected guidebooks in order to further understand the methods in which they guide and describe a place. The outcome of this study will be represented in the second section of this thesis.

A guide tailored to the description of a place of transience [Principality of Nomadonia] is unprecedented and comes with inherent difficulties. The first being that a traditional guidebook has been developed for places of permanence as opposed to those of a temporal nature. A concise analysis of guides, as explained in the methodology statement, will allow me to collage appropriate elements to successfully communicate the feel and character of a place that moves. Interestingly Nomadonia has no historical content, which offers up another difficulty in this process. In Reyner Banham’s BBC documentary titled Reyner Banham Loves Los Angeles he describes Los Angeles as ‘a city unlike any other’ and that ‘devising a guide is a good way to explain a city.’2 As Nomadonia is currently different to any other present urban scenario, a guide would be an appropriate medium to describe it.

A brief history of the guide has been included in this section to provide a platform to which potential hypotheses may reference in the main body and concluding section of this research.

There have been many instances of guides throughout history3 such as Palladio’s guidebooks to Rome originally published in 1554.4 In more modern times, guides such as the Baedeker Series and Murray’s Handbooks for Travellers were two of the most respected guides before the First World War.5 The inception of the guidebook may ask why places are ‘worth the detour’6 in the first instance whilst their conception may have evolved from ‘contemporary excitement over geographical exploration and discovery.’7

1 Nicholas T. Parsons. Worth the Detour: A History of the Guidebook. p.xviii 2 Reyner Banham, ‘Reyner Banham Loves Los Angeles’ 3 For further reading on the history guidebook refer to Nicholas T. Parsons. Worth the Detour: A History of the Guidebook 4 Palladio, Andrea. Palladio’s Rome. p.ix 5 Nicholas T. Parsons. Worth the Detour: A History of the Guidebook. p.xviii 6 Ibid. p.xiv 7 Thomas More. Utopia. p.xiii -15-

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1.0.1 - HISTORY

1.1 - GUIDE AS A TOOL. WHAT IS ITS PURPOSE? The question of what the guide actually does and offers to the reader is a pertinent one. It could be understood that a guide performs as a tool to aid in the exploration of a place as well as getting there in the first instance. The Rough Guide8, one of the modern go-to travel books, is ‘designed to give you a feel’9 of a place, with a summary of its distinctive features. Similar to the Rough Guides were the Baedeker Series10 [Fig.05]. In the 1906 edition of Baedeker’s Great Britain it states that it ‘is intended to help the traveller in planning his tour and disposing of his time to the best advantage.’11 Furthermore it introduces itself to the reader: ‘Go, little book, God send thee good passage, And specially let this by thy prayere Unto them all that thee will read or hear,

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Wherer thou art wrong, after thier help to call, Thee to correct in any part at all.’12

This introduction illustrates that the guide offers itself to assist those on their travels by ‘presenting a convenient, brief and clear description of the chief points of interest.’13 The scale of such publications should be noted as this plays a part in its ability to fulfil its ‘usefulness on the spot.’14 Fig.05 communicates the idea of the portable compact guide. With regards to the context of the Principality of Nomadonia and the understanding that it is a place based on movement, the concept of a guide that is easily transportable would be appropriate.

The Whole Earth Catalog was originally self published by Stewart Brand in 1968. Like a guidebook the Catalog drew upon multiple references to provide an ‘access to tools’15 and has been said to be the

8 The first Rough Guide was published in 1982 after originating from the problem of not being able to find the right guidebook. John Gawthrop and Christian Williams. The Rough Guide to Berlin. p.370 9 Ibid. p.1 10 A series of guides published by Karl Baedeker (1801-59). Published the first guidebook in 1828, Rheinreise von Mainz bis Köln. Blue Guides, ‘History of the Blue Guides’ 11 Karl James Baedeker, F. Muirhead. Baedeker’s Great Britain: A Handbook for Travellers. p. v 12 Ibid. p. iv 13 Findlay Muirhead [ed.]. London and its Environs. p.v 14 Ibid. p.vi 15 Stewart Brand. Whole Earth Catalog. Subtitle, Front cover -16-

Fig.05. Front cover. Baedeker, Karl James. F. Muirhead. Baedeker’s Great Britain: A Handbook for Travellers

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The small ‘pocket-sized’ nature of the Baedeker Guide allows it to be easily carried on a travellers journey, linking to the notion of mobility and guidance. Dimensions - 164H x 111W x 25D. Shown at 1:1 scale

Notes

Notes

Highlighting the purpose and potentials of the catalog to the reader allows the document to be read with clarity.

Notes

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Notes

Fig.06. Page 3, Whole Earth Catalog, Fall 1968

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This sample page highlights the ‘cut and paste’ attitude towards the content of the catalog. Small introductory sections of text are supplemented by images of their associated reference. Details of the source are provided for further reading Notes

Fig.07. Page 48, Whole Earth Catalog, Fall 1968

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Banham’s BAEDE-KAR guidance system, in the form of an 8-track cassette, performs as tour guide to navigate him through Los Angeles.

BAEDER-KAR VISITOR GUIDANCE SYSTEM. Within the documentary it is referenced as a joke tribute to the originator of the modern guidebook Karl Baedeker.

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Notes Fig.08. 00:47 BAEDE-KAR VISITOR GUIDANCE SYSTEM, Reyner Banham Loves Los Angeles

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predecessor of the modern web search engine.16 It was not necessarily a direct description of a place, but its content built up a picture of the cultural context in which it evolved from.17 The quote on page 03 and highlighted in Fig.06 outlines the principle content and intentions of the catalog as an ‘evaluation and access device.’18 In the Millennium edition of the catalog it states ‘here are the tools to make your life go better. And to make the world go better.’19 The set up of the catalog allows readers to easily pick and choose the information they require. This alternative example of a guide allows readers to be quickly pointed in the right direction, an attribute that is useful when visiting an unknown place or performing an unfamiliar task.

1.1.1 - VALUE AS A RECORDING DEVICE Beyond monetary cost, a guide has the ability to accumulate an alterative set of values other than usefulness, such as sentimental. A guide book almost becomes a vessel for notes where, for simply marked as done. These markings provide a personality beyond the object itself, tailoring it further to the individual reader.

In Reyner Banham’s 1972 BBC documentary Reyner Banham Loves Los Angeles he is always seen, when not in his car, with a camera upon his person to record the things and places that the guide book tells you to see.20 The idea of the interactive and the extension of the guidebook could be one that is carried into the guide for Nomadonia and therefore the guide has an additional ability to record, like the act of taking a photograph.

The notion of the continuous draft or the unfinished21 is portrayed in Fig.09 contained within L.A.W.U.N Project #19 by David Greene. Beyond its aesthetic it illustrates that the document [or

16 Beatriz Colomina and Craig Buckley. Clip Stamp Fold: The Radical Architecture of Little Magazines. p.115 17 The countercultural movement of the 1960’s. ‘Whole Earth Catalog’, Whole Earth 18 An item is listed in the CATALOG if it is deemed: (1) Useful as a tool, (2) Relevant to independent education, (3) High quality or low cost, (4) Not already common knowledge, (5) Easily available by mail.

Stewart Brand. Whole Earth Catalog. p.2.

19 Howard Rheingold [ed]. The Millennium Whole Earth Catalog. p.5 20 Reyner Banham, ‘Reyner Banham Loves Los Angeles’ 21 Many of Greene’s works ‘are just the seeds’ which is a core aspect of his design methodology.

‘What yuo see is not finished.’ David Greene & Samantha Hardingham [eds.]. L.A.W.U.N Project #19. B13 -21-

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example, places of interest are underlined, corners are folded over to mark a page or items are

Notes

The idea of the ‘edit’ can relate to the guide by concepts of information updates. A continuous revision of information may be required to keep pace with the changes of the place or object it is attempting to describe.

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Notes

Fig.09. Sample image, L.A.W.U.N Project #19

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guide] is not such a precious item, but more the information that it holds is attributed with a higher value. Even the ‘little magazines’ of the 1960’s and 70’s were intended to be disposable, similar to today’s twitter feeds and e-zines etc.22 Marshall McLuhan in Medium is the Massage states that ‘electric technology fosters and encourages unification and involvement’23 whilst the technology of printing itself allowed a new sense of individualism, privacy and detachment.24 The notions of privacy and personalisation are qualities that would be more suited to a nomadic citizen of Nomadonia, however it may be interesting to introduce elements of interaction.

1.1.2 - INFORMATION UPDATES With an analogue guidebook, there is the issue of it becoming redundant when its content becomes out-of-date and therefore alludes to an inherent disposable quality.

Visiting a place or carrying out a task that is described differently within an outdated information in the first instance. Within the Millennium W.E.C [Whole Earth Catalog] it states: ‘Comprehensive is different than general. Generalists attempt to know a bit about every subject. Focus is not necessarily implied, nor is attention to interactions. Comprehensive thought requires focused widespread knowledge plus study of connections and patterns. It is not commonly taught.

Overspecialized education is the problem.’25

This suggests that providing information that is too specific would require the content of the guide to have substantially more detail in its content. A consequence of this would be the requirement for more regular updates. This may be an obstacle for the Rough Guide to Berlin as it states that it intends to ‘cover each area of Berlin in depth, giving comprehensive accounts of all the attractions’ whilst using other words such as

22 Beatriz Colomina and Craig Buckley. Clip Stamp Fold: The Radical Architecture of Little Magazines. p.15 23 Marshall McLuhan and Quentin Fiore. Medium is the Massage. p.8 24 Ibid. p.50 25 Howard Rheingold [ed]. The Millennium Whole Earth Catalog. p.1 -23-

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guidebook could be a problem. Additionally this could relate to the specificity of the

‘extensive’26 to describe its content. This suggests, due to its more detailed information, that it would require more updating. Despite this, in such traditional guides, references are commonly made to historic monuments as places of interest. These are usually static objects, therefore detailed information about these can be justified as they are unlikely to change over short time scales. A scenario arises where information may be required to be nonspecific to reduce the amount of updates, or constantly updated to accommodate for the more regular changes. A decision will have to made for the guide to Nomadonia as, even down to basic facts of place, its geographical location changes and therefore the guide will have to accommodate these adjustments.

Other than keeping up with content updates, personal value, as previously mentioned, can counteract the disposable qualities of some modern guidebooks. As places, cities and more specifically Nomadonia is changing, the guide book, or at least its interpretation will

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have to follow suit. An example would be keeping a guide after you have used it to travel because it reminds you of where you went and what was visited. The ability to do this would not be as successfully achieved if a digital guide was used as its could be said that there is less scope for personalisation and its subsequent sentimental values.

The usefulness of a guide may also refer to its intended timescale. For this it is interesting to compare the content of the first and last Whole Earth Catalogs. As a general observation the contents of the guides differ27, however, this is illustrated within a similar framework. In the Millennium Edition it states ‘this information is continually revised according to the experience and suggestions of catalog users and staff’ and ‘snoop around. Let us know what you find, and what we should include next time’28 which suggests that there is a feedback system in place. In addition the Rough Guide intends to be ‘accurate and up to date’29 but openly invites readers, like the Whole Earth Catalog, to send in information where there are discrepancies. This provides an understanding of the ‘edition’ or ‘supplement’30; to continually revise the content within such guides. In

26 John Gawthrop and Christian Williams. The Rough Guide to Berlin. p.1 27 The content of the latter is ‘all appropriate to the zeitgeist of the third millennium’ as opposed to that of the 1960’s. Howard Rheingold [ed]. The Millennium Whole Earth Catalog. p.1 28 The reader is invited to submit and contribute towards the catalogs content. Ibid. p.1 29 John Gawthrop and Christian Williams. The Rough Guide to Berlin. p.371 30 A chronological inventory of all of the published catalogs and associated supplements show a trend in updates. ‘Whole Earth Catalog’, Whole Earth -24-

Thomas More’s Utopia31, there is a letter written from him to Peter Giles, a close friend.

With this letter More includes a copy of his book [Utopia], a year after his encounter with Giles, to check on the accuracy of his work and that it is in accordance with Raphael Hythlodaeus’32 original account.33 Regarding the guide, having feedback between reader and author allows information to accumulate legitimacy and to ensure that the guides intensions are realised.

From analysis of the guides it appears that there is a correlation between its shelf life and its genre. The fictional texts are attributed with longevity as the place that is being described is, to a certain extent, immortal. Flatland34, an adventure of a square that passes through many spatial dimensions in an attempt to convey unprecedented ideas of space35, is described as ‘a timeless classic of perennial fascination’36, despite its theories of physics now being many years out of date.

Traditionally one may refer to a guide as set of chronological step by step processes, or in terms of a novel, a start, middle and end. However a closer analysis of the case studies suggests that this is not always the case. For example, the Rough Guide to Berlin allows the readers to choose which order they read and use the guide through the categorised options provided in the contents page. In contrast The Book of Dave, a fictional novel by Will Self, would not make sense if it was read out of its intended chronological order, the same goes for any of Vitruvius’ instructional guides in the Ten Books on Architecture.37 The Whole Earth Catalog, in constrast states ‘we’ve intentionally arranged it to make obvious that everything really is connected to everything else.’38 The Divine Comedy by Dante, consisting of three parts [Inferno, Purgatorio,

31 A narrative based account of Utopia as ‘the best state of a commonwealth’ by Thomas More.

Thomas More. Utopia. p.59 32 Raphael Hythlodaeus is the character that originally visits Utopia and it is his account which More uses to write his book. Ibid. p.59 33 Ibid. p.3 34 Flatland: A Romance of Many Dimensions was a novel written by Edwin Abbott in 1884 35 Edwin A. Abbott. Flatland: A Romance of Many Dimensions. p.iii 36 Ibid. p.iv 37 This book was published as a treatise on architecture during the period of ancient Rome.

Vitruvius. The Ten Books on Architecture. p.iv 38 Howard Rheingold [ed]. The Millennium Whole Earth Catalog. p.1 -25-

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1.3 - CHRONOLOGY. IN WHAT ORDER DOES IT GUIDE?

and Paradiso] is intended to be read in order, starting with Inferno but with a generalised understanding of the story that follows.39 The three parts are separate, however the narrative persuades the reader into the next volume. An example of this can be seen in the final words from Dante in Inferno where he completes his assent out of the depths of hell and looks up towards the stars in reference to Purgatory.40 In his short documentary Banham says ‘where shall we send out visitor first?’ and ‘switch off the guidance system when you hear the tone’41 giving opportunity for choice. This suggests that the BAEDE-KAR navigational system can also be used non-chronologically. Like flicking through the pages of a Rough Guide, the user would have to pause and rewind the 8-track that the BAEDE-KAR is played on. Analysis of the order in which the case studies guide suggests that there is the possibility it has an impact on how the place it is attempting to describe is perceived. Taking this further and applying such concepts to Nomadonia, the time in which the reader uses the guide should be considered. Whether it is before visiting

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a place and used as research, while you are there or after to revisit what was seen.

1.4 - GUIDE TYPOLOGY. THE ROLE OF THE GUIDE As outlined in Fig.02 and alluded to throughout this thesis, there are a number of different types of guides included as part of the analysis. Dante’s Divine Comedy is a political and religious allegory42 that was written in the early fourteenth century at a time when Rome was consumed in ‘territorial and ideological quarrels’.43 The first component of the three part text is Inferno which refers to Dante’s travels through the many stages of Hell [Figs. 16 & 17]. To help Dante in his travels is Virgil44, who appears in the first Canto.

Virgil’s relationship and role within the story is multifaceted with Dante referencing him under a multitude

39 Dante Alighieri. The Divine Comedy 1: Hell. p.50 40 Ibid. p.288-289 [Inf. XXXIV. 133-139] 41 Reyner Banham, ‘Reyner Banham Loves Los Angeles’ 42 Dante’s allegory is complex and differs from the norm in its literal meaning as it is intended to represent a true story. Also the characters portrayed do not represent ‘personified abstractions’ but instead ‘symbolic personages’ to deliver the narrative. Dante Alighieri. The Divine Comedy 1: Hell. p.12-13 43 This relates to the political and religious uncertainties of Europe during this period. Ibid. p.22 44 Virgil is perceived by Dante as a ‘shade’ of the well known Roman poet. In the allegory Virgil is recognised as the image of Human Wisdom. The best than man can become without the special grace of God. In contrast Dante always places himself within the poem and is said to represent every Christian sinner. Ibid. p.67 -26-

of titles such as ‘guide’,45 ‘doctor’,46 ‘poet’,47 ‘teacher’,48 ‘master’,49 and ‘lord and leader’.50 The role of Virgil in this text is significant with regards to understanding an alternative method of guiding. Leading Dante through multiple ‘foul thoroughfares’51 there is a sense that Virgil is not only present to show direction, but is also there for protection. When approaching the gates of Hell, Dante states that Virgil has ‘brought me safely through’52 which also enforces this proposition. Additionally the text states ‘so he moved on; and I [Dante] moved on behind.’53 This idea of following the guides lead is different to the reading of the Whole Earth Catalog in the sense that it provides specific direction as opposed to a framework for individuals to interpret. Other case studies such as the Book of Dave and Flatland use similar methods as they guide the reader through the narrative and different sections of their respective stories. The first lines of Canto 1, ‘midway this way of life we’re bound upon, I woke to find myself in a dark wood, where the right road was wholly lost and gone’54 put Dante straight into the story and suggests that he is lost and looking for ‘the right way of virtue’.55 Again in the first Canto, Virgil states ‘nay, by another path thou needs must go, if thou wilt ever leave this waste’56 to Dante in order to persuade him to take another route.

someone, other than the authors, personal account of a place. The book written by Dave Rudman in the Book of Dave is used as a ‘revelatory text’58 and instructs on how to practice a religion. These are just a selection of examples shown by the case studies. An assumption is made that the guidebook is the primary tool in introducing and explaining aspects of Nomadonia instead of a tour guide being present providing the guidance, similar to Vigil and the BAEDER-KAR.

45 Dante Alighieri. The Divine Comedy 1: Hell. p.97 [Inf. V. 21] 46 Ibid. p.99 [Inf. V. 70] 47 Ibid. p.99 [Inf. V. 73] 48 Ibid. p.107 [Inf. VI. 100] 49 Ibid. p.107 [Inf. VI. 103] 50 Ibid. p.119 [Inf. VIII. 103] 51 En route to the City of Dis - Hell. Ibid. p.126 [Inf. IX. 100] 52 Ibid. p.119 [Inf. VI. 98] 53 Dante begins to follow Virgil in search of St. Peter’s Gates where redeemed souls are let in to Purgatory. Ibid. p.75-77 54 The first three lines of Canto 1 of the poem suggests that Dante finds himself on. Ibid. p.71-77 55 Religious reference. Dante Alighieri. Divine Comedy: Inferno Volume 2 Commentary, Routledge, London, 1971 trans. Charles S. Singleton. p.6 56 Dante Alighieri. The Divine Comedy 1: Hell. p.73 [Inf. I. 91] 57 Thomas More. Utopia. p.59 58 Will Self. The Book of Dave, A Revelation of the Recent Past and the Distant Future. p.280 -27-

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The BAEDER-KAR navigation system and Vigil in Divine Comedy are both examples of vocal guides. Utopia on the other hand is ‘the discourse of Raphael Hythlodaeus as reported by Thomas More.57 and so is

Other examples of guides that have not been outlined as case studies may further supplement this section as alternatives. Zabriskie Point,59 a 1970’s film by Michelangelo Antonioni shows in the final scene, the explosion of a house. In this scene the houses contents are revealed in slow motion, providing an inside and guide to the typical American home. Another example may be Buster Keaton’s The Scarecrow60 where what at first appears as a normal room, transforms into many different spaces and relates as an instructional film.

1.5 - AUTHOR’S AGENDA The agenda and purpose of each guide differs. It could be said that modern guides are commercially driven as opposed to the those, such as the Whole Earth Catalog, that are devised as a means of assistance.

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Utopia could be seen as a critique as More states ‘I readily admit that there are very many features in the Utopian commonwealth which it is easier for me to wish for in our countries than to have any hope of seeing realized’.61 For a place of transience, different to any other existing city typology, the guidebook will naturally assume the role of promoting its agenda, and in doing so perform a critique on the existing cities in which it attempts to be different from.

In Barthes essay titled The Death of the Author he suggests that attributing written text with that of the authors personality is to ‘impose a break on it’62 as it is ‘it is the language which speaks, not the author’.63 He continues and suggests that only the reader is capable of understanding the multiple meanings of a text and it is not the writing itself that does this.64 Therefore, in the context of a guidebook, Barthes is suggesting that the author should not impose his own identity as to prevent this contaminating the readers understanding.

59 Zabriskie Point. Dir. Michelangelo Antonioni. MGM, 1970 60 The Scarecrow. Dir. Edward F. Cline & Buster Keaton. Metro Pictures, 1920 61 Thomas More. Utopia. p.152 62 Roland Barthes, ‘The Death of the Author’ in The Rustle of Language. p.53 63 Ibid. p.50 64 Ibid. p.54 -28-

1.5.1 - TARGET AUDIENCE The agenda of the author can be further subdivided into its intended target audience. Utopia ‘achieves great universality by evincing great understanding and sympathy with all men.’65 Dante’s Divine Comedy was originally written in ‘vulgar tongue’ so that it could be accessible to the ‘common reader’66 including those that were not formally educated. Even the older guides such as London and it’s Environs67 attempt to seek a universal audience.68 Many of the guidebooks in the nineteenth and twentieth centuries have been criticised for only ‘reflecting the cultural aspiration and preoccupations of their [largely middle-class] target audience.’69 Taking this into account, and having an understanding that Nomadonia, a place of transience, would be roaming within the framework of the United Kingdom, it would be applicable not to exclude a certain demographic as to be suitable for all.

Each selected guide has a different content, with some being more explicit than others in highlighting to the reader the information within. Interestingly the world view of place can be described by not only the content of the guide but also what has been left out.70 David Greene in L.A.W.U.N Project #19 uses similar tactics by also focusing on the absent.71 As previously mentioned in the methodology statement, section 2, the guide proposal, will only be an addendum as opposed to seeking to be a definitive guide to Nomadonia. As a consequence there will be gaps in information, however a generalised understanding of place should still be conveyed to the reader.

65 Thomas More. Utopia. p.vii 66 Written in Italian as opposed to the more dignified Latin so that its was intelligible to all, including women. Dante Alighieri. The Divine Comedy 1: Hell. p.49 - intro by translator 67 First Blue Guide: London and its Environs published in 1918 by the authors that had previously worked as the English language editors for the Baedeker Series. Blue Guides, ‘History of the Blue Guides’ 68 The, in its preface, states that it intents to be a useful tool to visitors and act as a ‘convenient handbook for the Londoner.’ Findlay Muirhead [ed.]. London and its Environs. p.v 69 Nicholas T. Parsons. Worth the Detour: A History of the Guidebook. p.xvii 70 Ibid. p.xxvi 71 Greene employs strategies such as absence in many of his architectural projects, rather than focus purely on the complete. Greene, David & Samantha Hardingham [eds.]. L.A.W.U.N Project #19. p.B13 -29-

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1.6 - CONTENT. WHAT TO SEE AND DO

In Roland Barthes’ essay titled Blue Guides he states ‘to select only monuments suppresses at one stroke the reality of the land and that of its people.’72 Favouring only specific components can lead to an inaccurate portrayal of a place and therefore doing an injustice to those that are involved in its daily routine. It also indicates that the author of the guide is predetermining a highly specific agenda as opposed to allowing the reader freedom to select what is visited. He goes on to say that ‘it is everyday life which is the main object of travel’73 which further conveys the notion that to successfully and accurately describe a place, elements of the everyday must be included. Banham alludes to similar notions by suggesting that it is not only the things of beauty that are to be seen also the less desirable, but more meaningful destinations.74 Barthes continues his critique of the Blue Guides: ‘What is to be seen is thus constantly in the process of vanishing, and the guide becomes, through an operation common to all mystifications, the very opposite of what it advertises, an agent of

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blindness.’75 ‘It is only after having scrupulously done what Baedeker commands, after having discovered the Baron’s lapses in taste, his artistic prejudices and antiquarian snobberies, that the tourist can compile the personal guide which is the only guide from him.’76 Roland Barthes further evaluates the Blue Guides77 by stating that it ‘testifies to the futility of all analytical descriptions, those which reject both explanations and phenomenology: it answers none of the questions which a modern traveller can ask himself.’78 Perhaps this suggests that the traditional guidebook is limiting and not ‘guiding’. Banham’s BAEDER-KAR SYSTEM system may also be said to assess such guides. Banham suggests that for the more historical parts [monuments as mentioned by Barthes] of Los Angeles, a conventional guidebook would suffice and there was no need for the modern BAEDER-KAR SYSTEM.79 He can also be seen ignoring the guides advice on what to visit and undertaking self exploration as opposed

72 Roland Bathes, ‘Blue Guide’ in Mythologies. p.87 73 Ibid. p.87 74 Reyner Banham, ‘Reyner Banham Loves Los Angeles’ 75 Roland Bathes, ‘Blue Guide’ in Mythologies. p.87 76 Aldous Huxley as quoted in Nicholas T. Parsons. Worth the Detour: A History of the Guidebook. p. xvi 77 First published in 1918 by James and Findlay Muirhead after acquiring John Murray’s famous travel ‘handbooks’ in 1915. Also published in French under the titles Guides Bleus. For full time line refer to - ‘The History of the Blue Guides’ 78 Roland Bathes, ‘Blue Guide’ in Mythologies. p.87 79 Reyner Banham, ‘Reyner Banham Loves Los Angeles’ -30-

Notes - BOOK 01 - GUIDE ANALYSIS -

The sample page provides an insight into the content of the guide. Published in 1922 in post-war Britain, the guide reflects its context by introducing the war to the reader in its first section after the preface.

Notes

Fig.10. Table of Contents. Findlay, Muirhead. The Blue Guides: Muirhead’s London and its Environs

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to visiting what is suggested. In review, a description of place, despite whether its has transient qualities or not, would appear to require more qualitative descriptions of its defining components, beyond what is seen at first glance. This would prevent ‘a kind of postcard interpretation, and a reading through cliché’.80 Palladio’s Rome is yet another example of a guide. Pocket-sized and aimed at educating travellers who went to Rome to see its monuments first hand81 on its churches and antiquities.82 At first glance this is the antithesis of Barthes’ claims by ignoring the societal and phenomenological aspects of a place, however in Palladio’s second guide on antiquities he does refer to Roman society and further describes the contexts beyond the historic monuments.83 In the Book of Dave references are made to ‘knowledge’,84 as ‘the encyclopaedic grasp on London streets that a licensed cab driver has to have.’85 The novel is split into two books where ‘the past has become our future and in the future lie all our yesterdays’86 as the Book of Dave is used as a ‘revelatory text’87

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many years after it was originally written. This notion of a local understanding of place allowed cabbies to distinguish between the real and the ‘toyist’88 components of the city scape. These demonstrations of usefulness and a local understanding of a place can also be found in Utopia. Raphael informs More that when he first visited the island he was gifted with a guide by the natives which he deemed more important than food or water.89 To conclude, the guide may have empathy with the locals in the sense that these are the people that interact with the place on a daily basis and subsequently have a greater familiarity with a place than a foreign visitor.

1.6.1 - MAP, IMAGE AND MEDIA Many of the selected texts use some form of map or visual aid to complement the written

80 81 82 83

Nigel Coates. A Guide to Ecstacity. p.56 Andrea Palladio, Palladio’s Rome. p.xvi Ibid. p.ix Ibid. p.l

84 85 86 87 88 89

Will Self. The Book of Dave, A Revelation of the Recent Past and the Distant Future. p.406 Ibid. p.280 Ibid. p.465 Will Self. The Book of Dave, A Revelation of the Recent Past and the Distant Future. p.280 Fake ‘MadeinChina’. Parts from the original creation as stated in the Book of Dave. Ibid. p.347 Thomas More. Utopia. p.14 -32-

content. Fictional maps such as those found in The Hunting of the Snark90, Book of Dave [Fig.12], Utopia [Fig.14] and Flatland [Fig.11] help the reader understand a location of place by providing a geographical overview. Interestingly these are placed at the front of the texts as opposed to the more prosaic guides such as the Rough Guide to Berlin that places its primary referencing material to the back in an appendix. In the example of Baedeker’s Great Britain it implies that the maps are primarily used to ‘ascertain his [the reader] bearings and select the best routes.’91 These maps have a different purpose from those in the more narrative based case studies as they seek to act as navigational tool as opposed to provide a panoptic view in connection with a story. A place of transience may well utilise the medium of cartography to either describe its location or its contents and their relationships. At this point it may be worth adding that ‘nomads have no history; they only have a geography’92, administering further importance of the map. As previously mentioned, this, due to the temporal nature of place, would require attention to its level of specificity or updates [refer to information update section of this thesis].

purpose of this analysis, provide a reference to graphic design and media. Sample pages [Figs. 09 & 13] attempt to summarise the variety of visual content contained within the document. Set up to resemble a scrap book, collating multiple medias in a ‘cut-and-paste’93 aesthetic has parallels with that of the Whole Earth Catalog [Figs. 06 & 07]. The Whole Earth Catalog can be included under the title ‘little magazines’94 or ‘countercultural manuals’95 that were emerging from the sixties and seventies. Both their design and content was in response to the political, social and artistic changes of the period.96 Technology played a big part in the rise of such publications as developments in printing facilities gave a greater freedom and scope for design compared to previous techniques.97 Sarah Hardingham, in reference to David Greene’s works, describes in

90 A poem written by Lewis Carroll in 1876 depicts the search of the Snark, ‘a peculiar creature’.

Lewis Carroll. The Hunting of the Snark. p.40 91 Karl James Baedeker, F. Muirhead. Baedeker’s Great Britain: A Handbook for Travellers. p. vi 92 Deleuze, Gilles and Félix Guattari. Nomadology: The War Machine. p.73 93 Description of both aesthetics and content. Beatriz Colomina and Craig Buckley. Clip Stamp Fold: The Radical Architecture of Little Magazines. p.10 94 ‘These publications were not simply representing architecture but were sites of architectural production in their own right, challenging building as the primary locus of experimentation and debate’.

Ibid. p.8 95 Ibid. p.11 96 Ibid. p.8 97 Ibid. p.9 -33-

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L.A.W.U.N Project #19 is a book that revisits some of David Greene’s key works, but for the

The map shows many of the different dimensions as described in the text as representative diagrams. For example Pointland is just a dot and Spaceland a cube

Notes

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Notes

Fig.11. Map of Flatland, Flatland: A Romance of Many Dimensions

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Notes - BOOK 01 - GUIDE ANALYSIS -

The maps are shown at the beginning of the novel to introduce it as a real place to the reader. The employment of giving a place a geography through a map helps further persuade the reader of its authenticity.

Notes

Fig.12. Map of the Ing Archipelago [top left], New London [top right], Island of Ham [bottom left] and Manor of Ham [bottom right], Book of Dave

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Notes

L.A.W.U.N contains many pages similar to this sample. Single colour, and in many instances, with a halftone reprographic technique applied. Additional handwriting has been applied to maintain the ‘cut-and-paste’ aesthetic.

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Notes

Fig.13. Sample image, L.A.W.U.N Project #19

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The map of Utopia shows, in the bottom left corner, Raphael Hythlodaeus describing the place to More. It also references many of the aspects of place as described in Book II such as the fact that it is an island.

Notes

Notes

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Fig.14. Map of Utopia, Utopia

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a heading; ‘what you see if not finished.’98 This could be extrapolated and applied to the ideas behind the aesthetics of the L.A.W.U.N. The addition of hand written notation, news paper cut outs and varying use of typeface give a hierarchy between the information. Varying paperweights are also used to order information in L.A.W.U.N similar to the Rough Guide where the use of colour allows further accessibility to the reader.99 A Guide to Ecstacity by Nigel Coates is about a fictional city, but more importantly, is in the form of a guide book. Its collaged content employs similar tactics to that of the Whole Earth Catalog by referencing elements of existing information to develop a new message, or in this case, city typology.100 Unlike the Book of Dave, Flatland and The Hunting of the Snark employ small diagrams and imagery at significant stages of the text to further inform the reader. The Hunting of the Snark contains 9 illustrations by Henry Holiday. Each of which are used by Lewis Carroll to further

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describe each scenario as the tale is told.101 Banham states that before he first visited L.A. he had seen it represented in films which, he thought, gave a good representation and sense of familiarity of the place until he got there.102 A negative aspect of this is that it could convey a false image of place due to it potentially being ‘mythologized’ by media.103 Thus the time in which the media is viewed may also play an important role within the whole context of a guide.

The analysis of this section demonstrates there are a multitude of methods that can be used within the context of a guidebook to supplement the main written content. With regards to being specific to a place of transience there may be a larger impact on its cartographic representation as opposed to the use of image and media that augments its narrative. McLuhan states that ‘all media work over us completely’104 which implies that whatever choice of media is used for the guide proposal will have an impact on the way information is perceived by the reader and as a consequence affect the understanding of content.

98 David Greene & Samantha Hardingham [eds.]. L.A.W.U.N Project #19. p.B13 99 Refer to contents page. John Gawthrop and Christian Williams. The Rough Guide to Berlin. p.3 100 Coates refers to the idea of ‘blended conditions’. Nigel Coates. A Guide to Ecstacity. p.42 101 Examples of this can be found on pages 5,10, 31, 41, 52, 62, 74 and 82. Lewis Carroll. The Hunting of the Snark.

102 Reyner Banham, ‘Reyner Banham Loves Los Angeles’ 103 Nigel Coates. A Guide to Ecstacity. p.59 104 Marshall McLuhan and Quentin Fiore. Medium is the Massage. p.26 -38-

1.6.2 - LANGUAGE Today there are guidebooks that have been translated into many languages as to be available to a wide, international audience. It is not only this, but the tone of the language used in the guides which is interesting, especially when it further informs the content. The simple fact of the language [English, French, Latin etc] gives obvious clues to the texts intended audience, however further information such as the personality of the author or contexts in which the guide was conceived can also be alluded to via the genre of its dialect. In the example of the Ten Books on Architecture, Vitruvius employs a language likened to ‘specifications and contracts.’105 In his preface to the first book Vitruvius describes how his ‘definite rules’106 are intended to teach.

This outlines the methods in which Vitruvius implements to connect to the reader. In contrast to this, case studies such as the Lonely Planet Guide to Home-Made Micronations uses satire in its descriptions of a place.107 Whether this detracts from the more serious connotations of the book is up for question, however Marshall McLuhan states an advocacy of humour as a communication perhaps it comes down to personal preference?

Flatland employs a number of tactics, both in its content and by the author. Analogies are used to aid in the description of a place, similar to the way Coates uses existing images to describe Ecstacity. Abbott states, ‘imagine a vast sheet of paper...’110 when first describing Flatland. Within the narrative it quotes ‘I call our world Flatland, not because we call it so, but to make its nature clearer to you.’111 As Nomadonia is different to existing city typologies, it may be beneficial to introduce analogies of traditional cities to aid in the description of its transience.

105 Vitruvius, The Ten Books on Architecture. p.v 106 Ibid. p.4 107 ‘They [Micronations] have become their hobby, and the results - as you will discover - are hilarious, inspiring and sometimes a little bit scary. But mostly hilarious.’ Ryan, John, Simon Sellars and George Dunford. Micronations: The Lonely Planet Guide to Home-Made Nations. p.4 108 ‘Humour as a system of communications and as a probe of our environment - of what’s really going on - affords us our most appealing anti-environmental tool. It does not deal in theory, but in immediate experience, and is often the best guide to changing perceptions. Marshall McLuhan and Quentin Fiore. Medium is the Massage. p.92 109 In More’s letter to his friend Peter Giles explaining his apprehension in publishing his works.

Thomas More. Utopia. p.7 110 Refer to p.3 for full quotation. Edwin A. Abbott. Flatland: A Romance of Many Dimensions. p.3 111 Ibid. p.3 -39-

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tool.108 Thomas More however claims that ‘some are so dull-minded that they fear all satire’109 so

Notes

Monki as referenced to in the Book of Dave refers to the native language of Ham. A mixture of Cockney and phonetics combine to create a new dialect.

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Notes

Fig.15. Arpee-English Glossary, Book of Dave, A Revelation of the Recent Past and the Distant Future

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Will Self uses an alternative dialect in the Book of Dave. Monki, as shown in Fig.15. It derives from ‘phonetic transliteration of broad cockney, together with a few coinages and neologisms’112 to further enforce the narrative of a future London. New terminologies may be required to further describe and support the unprecedented nature of the ephemeral city.

1.6.3 - TRANSLATION From Figs. 16 & 17, diagrams from Inferno, we can see that the translators have used different supplementary imagery to describe Dante’s descendance into Hell. Such discrepancies also appear within the written content, where Dante’s Cantos, through translation, have been given different wordings.113 From the same Dante text one translator has arrived at ‘when the truth looks like a lie, a man’s to blame, not to sit still, if he can, and hold his tongue, or he’ll only cover his innocent head with shame’ man never should allow: through crime be absent - still disgrace is nigh’.114 Extrapolating the differences in these three lines, suggests that it is plausible that a reader would understand the content of the works differently in each example.

If the guide to Nomadonia were to be translated, consideration of the type of language used may affect its content. In the introduction of Utopia it reads ‘figurative language is perhaps less difficult to convey in a translation than are syntax and diction.’115 In the future the proposed guide may be published in a language other than English, and to ensure that there is a consistency in how the content is conveyed in multiple languages, should utilise a more literary wording exemplified in Utopia or Flatland.

In Utopia, More casts self doubt over the legitimacy of his book and states that the would rather ‘tell an objective falsehood than an intentional lie.’116 In his letter to Peter 112 Will Self, ‘In the Beginning’ 113 The translator states the difficulties of translating the qualities of the poetry from Latin to English whilst after critiques previous attempts to do the same with Dante’s writings Dante Alighieri. The Divine Comedy 1: Hell. p.55-66 114 The first is the translation by Sayers and the second by Wright, an earlier translator. Dante Alighieri. The Divine Comedy 1: Hell. p.63 115 Thomas More. Utopia. p.xxx 116 Ibid. p.5 -41-

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whilst the other reads ‘that truth which bears the semblance of a lie, to pass the lips

The use of diagram help reinforce Dante’s descriptions of the decendance into Hell and the many stages that he and Vigil pass through to get there.

Notes

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Notes

Fig.16. Section-map of Hell, Dante Alighieri. The Divine Comedy 1: Hell

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Notes

Notes

Notes

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Fig.17. The slope of Hell, Dante Alighieri. Divine Comedy: Inferno Volume 2 Commentary -43-

Notes

Key aspects of the page structure relate to the subdivison of information that provides further accessibility to the reader. The main body of text [top] is suplmented by the additional text [bottom] like footnotes.

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A typical page from the Rough Guide to Berlin consists of a simple structure highlighting the breakdown of information.

Fig.18. Sample page, Rough Guide to Berlin

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Giles he seeks clarity on the account of Hythlodaeus as he ‘was not so well acquainted with Latin [language of publication] as with Greek.’117 This again highlights the potential misunderstandings and uncertainties associated with translated texts.

1.7 - STRUCTURE Many of the sample pages contained in this section of the thesis, such as Figs. 18, 19 & 20 and associated captions, provide an insight into the structure of the documents. Some of these will be implemented and explained within the guide for Nomadonia. Starting with the Rough Guide, [Fig.18] highlights that the guide is subdivided into sections to allow the reader to easily find information. In each of the sections additional resources are cross-referenced with both the contents page and index to further aid in the navigation of the guide. The primary section of information is supported by secondary, more detailed text highlighted at the bottom of each page, again for a readers convenience. Comparisons can be drawn with the Dante’s

In The Ten Books on Architecture Vitruvius implements an authoritative step by step framework as shown in Fig.19. Regimentally structured with each book introduced with a concise summary statement which is then subdivided into separate chapters. Each chapter contains numbered paragraphs that are almost list like, implying a strict didactic approach. This strategy further enforces the straightforward language that Vitruvius employs.118 The Whole Earth Catalog [Fig.07], in contrast, presents itself in defined sections119 but everything is shown as small introductory fragments that highlight multiple connections between the information [refer to Chronology section for further details]. This provides a fast pace to the document as only snippets are shown as opposed to full details. The pace or number of sections that a guide is divided into will undoubtedly affect the readers perception. McLuhan states that the introduction of the printed word allowed an ‘auditory dimension’ to be applied to text120 that affects its rhythm. The use of numbered bullet points by Vitruvius helps breakup an otherwise dense page of text that would prove difficult for a reader to engage with. The older Baedeker and London and its Environs guides are smaller in size than 117 Thomas More. Utopia. p.3 118 Vitruvius, The Ten Books on Architecture. p.v 119 The Fall, 1968 edition of the catalog was divided into 7 key sections; Understanding Whole Systems, Shelter and Land Use, Industry and Craft, Communications, Community, Nomadics and Learning.

Nomadics is then further subdivided into Innovator, The Retreater’s Bibliography, The Book of Survival, The Survival Book ... etc. Stewart Brand. Whole Earth Catalog. p.1 120 Introduction of comma, question marks etc. Marshall McLuhan and Quentin Fiore. Medium is the Massage. p.117 -45-

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Inferno, that has supporting commentary with each Canto as shown in Fig.20.

The sample page explicitly highlights the way in which Vitruvius chooses to convey his architectural principles. Equally distributed bullet points make up each chapter, with multiple chapters combined within ten books.

Notes

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Notes

Fig.19. Methods of building walls, The Ten Books on Architecture

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Fig.20. Sample page from Dante Alighieri. The Divine Comedy 1: Hell

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The structure of Dante’s translated texts follows the form of sets of three lines that make up each Canto. These are then followed up by an array of commentaries that explain the meanings behind the text as the story is told.

Notes

Notes

the narrative case studies, and as a consequence have very dense pages of monotonous text. It could be argued that this reduces the engagement with the reader as well as applying emphasis on time to find the required information rather than participating in the place of visit.

1.8 - DESTINATION OR JOURNEY? As with places that you visit, getting there is always part of the experience. In Los Angeles Reyner Banham uses his car and the freeways to travel, but notes that this is also part of the tour, but from a different perspective or lens [the car].121 He then goes on to say that the journey itself may be more fulfilling that the destination.122 The ability to turn off the BAEDE-KAR system further allows Banham to engage in self exploration.123 In the case of Palladio’s four pilgrimage routes contained within his original guides, he guided visitors through the streets of Rome to see the ‘best’ parts of the city, which was its churches and

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sites of antiquity.124 This is more of a direct approach rather than a heuristic one as suggested by Banham.

This is because sites of interest are already defined, rather then allowing discoveries such as those seen

by Banham when travelling along the L.A. motorways.125 Thomas More states that ‘it is but human nature that each man favour his own discoveries’126 which suggests that finding places out for yourself is more rewarding than simply following the specific sites offered within a guidebook. Many of the authors of the case studies allude to similar notions. McLuhan refers to an ideal scenario of making ‘everyday learning a process of discovery’127 and in the Book of Dave it notes that ‘driving made him [Dave] feel free ... the world was revved up with possibilities.’128 However discovery itself ‘unavoidably requires the assembly of ascertainable facts and the perilous task of interpreting them’129 which may refer back to the purpose of the guidebook as a means to discover. At the other end of the scale Barthes states that ‘travel according to the Blue Guide is thus revealed as a labour-saving adjustment, the easy substitute for the morally uplifting walk’130 where the author of the guidebook has already carried out the exploration for you. There

121 Reyner Banham, ‘Reyner Banham Loves Los Angeles’ 122 Ibid.

123 Ibid.

124 Andrea Palladio, Palladio’s Rome. p.xlviii 125 ‘Switch off the guidance system when you hear the tone.’ Turning off the BAEDER-KAR system allows him explore using his car on the motorways. Reyner Banham, ‘Reyner Banham Loves Los Angeles’ 126 Thomas More. Utopia. p.18 127 Marshall McLuhan and Quentin Fiore. Medium is the Massage. p.69 128 Will Self. The Book of Dave, A Revelation of the Recent Past and the Distant Future. p.91 129 Nicholas T. Parsons. Worth the Detour: A History of the Guidebook. p.xix 130 Roland Bathes, ‘Blue Guide’ in Mythologies. p.85 -48-

are elements of empiricism131 contained within this argument which could be applied to the guide for Nomadonia by ensuring that it is not restrictive and permits a degree of freedom. In doing so it should act as an ‘effective intermediary between the high ground of cultural aspiration and the low ground of vulgar curiosity’132 where specified items of interest are seen but allow the in-between to be explored.

1.9 - SUBJECTIVITY AND CHOICE Adorno in Essay as Form states that ‘intellect itself, once emancipated is mobile.’133 Interpreting this he is suggesting that once you have knowledge, this will be used in reference to new experiences. Administering this to the concept of the guide suggests that everyone’s interpretation will be different. This is due to the variation of past experiences and therefore accumulation of understanding. Going one step further, this also applies to the place that is being visited. The subjective nature of place and information allows multiple interpretations to be formed. For example if the same guidance was written in the instructive argument suggesting that if an alternative author wrote a book [guide] about a country it would depict a different place entirely.134 In the Book of Dave it refers to the fictitious new state of London and writes ‘the London spread out below them might have been impressive to a visitor - to a native it was mundane’135 which refers back to the target audience section of this analysis, but also Adorno’s point of subconscious gathering of information.

131 132 133 134

“Empiricism.” Oxford Dictionaries Nicholas T. Parsons. Worth the Detour: A History of the Guidebook. p.xiv Adorno. ‘The Essay as Form.’ p.168 Roland Bathes, ‘Blue Guide’ in Mythologies. p.88

135

Will Self. The Book of Dave, A Revelation of the Recent Past and the Distant Future. p.478 -49-

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language of Vitruvius, it would differ from that of the allegorical works of Dante. Barthes adds to this

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[blank page]

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-51-

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REFER TO BOOK 02 A ROUGH GUIDE TO THE PRINCIPALITY OF NOMADONIA

3.0 - CONCLUSION ‘It is only after having scrupulously done what Baedeker commands, after having discovered the Baron’s lapses in taste, his artistic prejudices and antiquarian snobberies, that the tourist can compile the personal guide which is the only guide from him.’1

The intension of this thesis was to provide a tool for exploring a new city typology; one of transience.

Secondly to develop a guide to supplement and further understand the drawn elements of the thesis design project present in the portfolio and final exhibition. The thesis has helped the design project by reinforcing its origins and narrative. With regards to the guide proposal I have been unable to describe the whole city due to content and time parameters and therefore have had to be selective in order to efficiently convey a sense of place. Similar tactics have been applied to the design project in the sense that specific drawings have been selected to visually communicate Nomadonia in the portfolio. Due to the vast

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scale and complexity of the city it be unwise to attempt to draw or make a guide for its entirety.

Successful elements of the guide proposal are those that are loose and permit a sense of self interpretation of the transient space. Such features allow the reader to judge for themselves the character of a place as opposed to being persuaded in a certain direction by a more conditioned guidebook. Also being overly specific, a guidebook would only have the capacity to describe the place for a short period before it was deemed anachronistic. However, there may be some instances where is this it a prerequisite. In review Nomadonia’s version of the map from the Hunting of the Snark is one of the more efficacious visual components of the guide, and this again plays on a sense of ambiguity and as David Greene type absence2.

The thesis has attempted to be innovative by utilising case studies beyond traditional guidebooks and interpreting their content to propose a new guide. It may have been interesting to undertake a similar analysis using an alternative set of case studies that may include Gullivers Travels by Jonathan Swift or Sci-fi novels for example, to see how this would affect the final outcome.

The process of attempting to describe the nature of a transient space has been undertaken with difficulty but has brought forward further questions within its field of research. Specific difficulties include identifying exact attributes of the guide that would be pertinent to an ephemeral city. The critical analysis

1 Aldous Huxley as quoted in Nicholas T. Parsons. Worth the Detour: A History of the Guidebook. p.xvi 2 Greene employs strategies such as absence in many of his architectural projects, rather than focus purely on the complete. Greene, David & Samantha Hardingham [eds.]. L.A.W.U.N Project #19. p.B13 -52-

indicates that there are many features of the case studies that can be applied to a place of transience, so rather than introducing unprecedented methods of guiding, the conclusion of the study [Guide to Nomadonia] has become a collage of the critical analysis. McLuhan suggests that as technologies advance, so does our attitudes towards them. ‘Formerly, the problem was to invent new forms of labour-saving [a guidebook?]. Today, the reverse is the problem. Now we have to adjust, not to invent.’3 Putting this into the context of the guidebook could suggest that the traditional framework does not need reinventing for new scenarios but readjustment would be more appropriate.

It is almost certain that the city as we know it today will change. Whether this is in the form of Nomadonia or not it unknown, but what can be said is that such places will required guidance. The thesis conclude on the question: how will future places, those outside of the traditional boundaries of earth, be explained, introduced and guided? Channel 4’s documentary Live from Space gives great insight into the difficulties and the adjustments required to live in space. NASA is currently undertaking research programmes that aim to develop prototypes that will venture out to Mars4, breaking the tie from Mother Earth. In expanding population and finite resources. Exploration is a part of the human condition, that is wrapped up in our DNA for good reason ... it is imperative that we venture into the blackness of space to colonise new worlds [such as those in Fig.21] across the cosmos.5 These documentaries aid speculation on the type of adjustments people will have to make to their daily lives if we were to colonise other celestial bodies and it may the be role of the guide to aid in this process.

Perhaps the analogue guidebook was not the tool for the job. Marshall McLuhan suggests that ‘at the high speeds of electronic communication, purely visual means of apprehending the world are no longer possible; they are just too slow to be relevant or effective.’6 Conceivably it may have been erroneous to ‘attempt to do a job demanded by the new environment with the tools of the old.’7 This thesis was undertaken with an awareness of digital guides, such as those that exist in app form, exists, but still require a hardware to operate. As mentioned previously in the analysis, one of the significant positive aspects of a paper guide is its tactility and ability to be adapted and personalised by the user. Despite this, sales of guidebooks are decreasing, not because we are not travelling as much as we used to but the way in which

3 4 5 6 7

Marshall McLuhan and Quentin Fiore. Medium is the Massage. p.124 ‘Lap of the Planet.’ Live From Space Ibid.

Marshall McLuhan and Quentin Fiore. Medium is the Massage. p.63 Ibid. p.92 -53-

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this documentary physicist Stephen Hawking states that ‘our planet is an old world, threatened with an

it is conducted8. As a consumer we have a choices to make when it comes to guidebooks, and that decision alone can tell us a lot about ourselves.9 To conclude, perhaps ‘at its best the guidebook has fulfilled the function of a benevolent, assiduous and

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not unsophisticated cicerone’10 independent of its targeted place of description?

8 40% decline in the UK since 2005. Stephen Mesquita, ‘Travel Guidebooks: What is the Future?’

9 ‘Our choice of guidebook, and the ways in which we choose to use one (dutifully, with scepticism, with blind obedience, or even with mockery), reveal a good deal about us and the cultural attitudes we instinctively subscribe too’. Nicholas T. Parsons. Worth the Detour: A History of the Guidebook. p.xiv 10 Nicholas T. Parsons. Worth the Detour: A History of the Guidebook. p.xiv -54-

Notes

Notes

Notes

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Fig.21. Toroidal Colonies - Space Colony Art from the 1970’s

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BIBLIOGRAPHY BOOKS Abbott, Edwin A. Flatland: A Romance of Many Dimensions, Dover Publications, New York, 1992 Alighieri, Dante, L’inferno, 1308-1321. Translated by Dorothy L. Sayers as The Divine Comedy 1: Hell, Penguin Classics, London, 1949 - reprint edition Alighieri, Dante, L’inferno, 1308-1321. Translated by Charles S. Singleton as The Divine Comedy: Inferno, Routledge, London, 1971 Baedeker, Karl James. F. Muirhead. Baedeker’s Great Britain: A Handbook for Travellers, Leipzig : Karl Baedeker, London, 1906, 6th edition

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Banham, Reyner [eds.]. A Critic Writes: ESSAYS by Reyner Banham, University of California Press, London : Los Angeles, 1999 Barthes, Roland, Bruissement de la Langue, Editions du Seuil, Paris, 1984. Translated by Richard Howard as The Rustle of Language, University of California Press, Los Angeles, 1989 Bathes, Roland, Mythologies, Editions du Seuil, Paris, 1957. Translated by Annette Lavers as Mythologies, Vintage Books, London, 2009 Brand, Stewart. Whole Earth Catalog, Portola Institute, California, 1968 Carroll, Lewis. The Hunting of the Snark, Windward, Leicester, 1980 Coates, Nigel. A Guide to Ecstacity, Laurence King Publishing, London, 2003 Colomina, Beatriz and Craig Buckley [eds.]. Clip Stamp Fold: The Radical Architecture of Little Magazines 196X to 197X, Actar Publishers, Barcelona, 2010 Conrads, Ulrich [ed]. Programs and Manifestoes on 20th-Century Architecture, MIT Press, Massachusetts 1976 Cook, Peter [ed.]. Archigram, Princeton Architectural Press, New York, 1999, revised edition Deleuze, Gilles and Félix Guattari. Traité de nomadologie: La machine de guerre in Mille Plateaux, Éditions de Minuit, Paris, 1990. Translated by Brian Massumi as Nomadology: The War Machine, Semiotext(e), New York, 1986 Findlay, Muirhead. The Blue Guides: Muirhead’s London and its Environs, Macmillan & Co, London, 1922, second edition -56-

Gawthrop, John and Christian Williams. The Rough Guide to Berlin, Rough Guides, London, 2008, 8th Edition Greene, David & Samantha Hardingham [eds.]. L.A.W.U.N Project #19: The Disreputable Projects of David Greene, Architectural Association Publications, London, 2008 McLuhan, Marshall and Quentin Fiore. Medium is the Massage, Penguin Classics, London, 2008 More, Thomas St. Utopia, Yale University Press, London, 1972, 9th edition Palladio, Andrea, L’antichità di Roma di M.Andrea Palladio, raccolta brevemente da gli auttori antichi, & moderni, Vincento Lucrino, Rome, 1554. Translated by Vaughan Hart & Peter Hicks as Palladio’s Rome, Yale University Press, London, 2009 Parsons, Nicholas T. Worth the Detour: A History of the Guidebook, The History Press Ltd, Gloucestershire, 2007, 7th Edition

Rheingold, Howard [ed]. The Millennium Whole Earth Catalog, HarperCollins Publishers, New York, 1994 First edition Ryan, John, Simon Sellars and George Dunford. Micronations: The Lonely Planet Guide to Home-Made Nations, Lonely Planet Publications, Melbourne, 2006 Steger, Manfred B. Globalization: A Very Short Introduction, Oxford University Press, Oxford, 2003 Self, Will. The Book of Dave, A Revelation of the Recent Past and the Distant Future, Penguin, London, 2007, Reprint edition

JOURNALS Davis, Stephen. ‘The Great Horse-Manure Crisis of 1894’, The Freeman: Ideas on Liberty, Vol. 54, No. 7, Sept. 2004 Adorno, T. W, Bob Hullot-Kentor, Frederic Will. ‘The Essay as Form’, New German Critique, No. 32, Spring Summer, 1984

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Pollio, Vitruvius, De architectura, 25.BC. Translated by Morris Hicky Morgan as The Ten Books on Architecture, Dover Publications, New York, 1960

FILM

Zabriskie Point. Dir. Michelangelo Antonioni. MGM, 1970. YouTube [www.youtube.com/ watch?v=ResQFDDsDAI] The Scarecrow. Dir. Edward F. Cline & Buster Keaton. Metro Pictures, 1920. YouTube [www.youtube.com/ watch?v=NSOTeYjBwWM]

LECTURE Hammersley, Ben. ‘Redrawing the Worlds Maps’, FutureFest 2013. London. Shoreditch Town Hall. 28.09.13.

Lecture

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Abbas, Yasmine. ‘Neo-nomadism’, Lift 11 Conference. Geneva. 02.02.11. Lecture. [http://videos. liftconference.com/video/1169165/yasmine-abbas-neo-nomadism]

DOCUMENTARIES BBC. ‘Reyner Banham Loves Los Angeles’. 1972. Online. Vimeo. Accessed on 12.01.14. [http://vimeo. com/22488225] ‘Lap of the Planet.’ Live From Space. Channel 4, 16.03.14. Accessed on 4OD, 26.03.14

LEGISLATION ‘New Towns Act, 1946’, [www.legislation.gov.uk/ukpga/1946/68/pdfs/ukpga_19460068_en.pdf] - accessed 30.01.14 ‘Declaration of Independence’, [www.archives.gov/historical-docs/document.html?doc=1&title. raw=Declaration%20of%20Independence] - accessed 16.01.14 Bramley, G, Pawson, H, White, M, Watkins, D & Pleace, ‘Estimating Housing Need’, Communities and Local Government, [www.gov.uk/government/uploads/system/uploads/attachment_data/file/6338/1776873. pdf], accessed on 18.12.13 - last updated 10.12 Wilson, Wendy, Housing Supply and Demand, House of Commons Library Research, [www.parliament.uk/ documents/commons/lib/research/key_issues/Key-Issues-Housing-supply-and-demand.pdf], accessed on 18.12.13 - last updated 2010

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WEBSITES Self, Will, ‘In the Beginning’, The Guardian, [www.theguardian.com/books/2007/jun/16/willself], accessed on 18.03.14 - last updated 26.06.07 Department for Communities and Local Government, ‘Increasing the Number of Available Homes’, Government of the United Kingdom, [www.gov.uk/government/policies/increasing-the-number-ofavailable-homes], accessed on 30.01.14 - last updated 03.02.14 Blue Guides, ‘History of the Blue Guides’, [www.blueguides.com/our-titles/blue-guides/history-of-the-blueguides/], accessed on 22.01.14 - last updated unknown Coates, Nigel, ‘Guide to Ecstacity’, Nigel Coates, [www.nigelcoates.com/project/ecstacity_book], accessed on 22.03.14 - last updated unknown Mesquita, Stephen, ‘Travel Guidebooks: What is the Future?’, The Guardian, [www.theguardian.com/ travel/2012/may/04/travel-guidebooks-online-sales], accessed on 22.02.14 - last updated 04.05.12

‘The Lonely Planet Story’, Lonely Planet, [www.lonelyplanet.com/about/], accessed on 14.02.14 - last updated unknown Abbas, Yasmine, ‘Neo-Nomad Dictionary’, [www.issuu.com/neo-nomad/docs/tlm_ya], accessed on 29.11.13 - last updated 3 years ago ‘Akira Yamaguchi Explores the Idea of Time’, Designboom, [www.designboom.com/art/akira-yamaguchiexplores-the-idea-of-time/], accessed on 31.03.14 - last updated 04.09.2012 Wolff, Richard, ‘Detroit’s Decline is a Distinctively Capitalist Failure’, The Guardian, [www.theguardian. com/commentisfree/2013/jul/23/detroit-decline-distinctively-capitalist-failure], accessed 29.03.14 - last updated 23.07.13

DICTIONARIES Oxford Dictionaries. April 2010. Oxford Dictionaries. April 2010. Oxford University Press. 31.01.2014 [www. oxforddictionaries.com/definition/]

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‘Whole Earth Catalog’, Whole Earth, [www.wholeearth.com/history-whole-earth-catalog.php], accessed on 22.02.14 - last updated unknown

FIGURE LIST

PAGE[S]

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BOOK 1

01.

02.

03.

04.

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06.

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08.

09.

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05 10-11 12 13 17 18 19 20 22 31

11.

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34 35

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36 37 40 42 43 44 46 47 55

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Methodology diagram - Thesis structure.

Taxonomy of key guide case studies Methodology diagram - Case study selection criteria Methodology diagram - Case study page analysis Front cover. Baedeker’s Great Britain Sample Page, Whole Earth Catalog Sample Page, Whole Earth Catalog BAEDER-KAR Screenshot, Reyner Banham Loves Los Angeles Sample page, L.A.W.U.N Project #19 Sample page. Findlay, Muirhead. The Blue Guides: Muirhead’s London and its Environs Maps of Flatland, Flatland Map of Ing Archipelago, New London, Island of Ham and Manor of Ham, Book of Dave Sample page, L.A.W.U.N Project #19 Map of Utopia, Utopia Sample Page, The Book of Dave Sample page, The Divine Comedy 1: Hell Sample page, The Divine Comedy: Inferno Sample page, Rough Guide to Berlin Sample Page, The Ten Books on Architecture Sample page, The Divine Comedy 1: Hell Toroidal Colonies - Space Colony Art from the 1970s, [http://settlement.arc. nasa.gov/70sArtHiRes/70sArt/art.html] Ocean-Chart, The Hunting of the Snark

Front Cover 02 03 10 11 17 18-19 20 23

Inflatable Horse Monument, Principality of Nomadonia Saddle, [www.fortwestern.com/images/large/430613-1.jpg] Halfway House, Principality of Nomadonia Horse Waste and Viewing Gantry, Principality of Nomadonia Horse Waste Collection System, Principality of Nomadonia Map for the Unbuilt Monument, Principality of Nomadonia Horse, [http://shoestringstable.wordpress.com/tag/anatomy/] Map of Nomadonia, Principality of Nomadonia Inflatable Horse Monument, Principality of Nomadonia

BOOK 2 01.

02.

03.

04.

05.

06.

07.

08.

09.

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Monument Hoof, Principality of Nomadonia Between Inflatable Horse Monument, Viewing Tower, Principality of Nomadonia Horse, [http://shoestringstable.wordpress.com/tag/anatomy/] Homesteads, Principality of Nomadonia Nomadonia in transit, Principality of Nomadonia Resource Tower, Principality of Nomadonia

10.

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26 28

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31 33 36 38

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Postcard 01 Inflatable Horse Monument, Principality of Nomadonia Postcard 02 Nomadonia in transit, Principality of Nomadonia

*more details of figures are provided within the content of the thesis and as notes. For full resource refer to bibliography **where Principality of Nomadonia is stated it refers to personal design work

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[Apendicies]

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Notes

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Fig.22. Original Map, The Hunting of the Snark

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Notes

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Notes

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Notes

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Notes

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